A fatally muddled tone means Been So Long ends up less than the sum of its parts, despite glorious lead performances from Arinzé Kene and Michaela Coel
“People don’t want inclusivity mate, they want exclusivity. And something for the gluten-intolerant”
I really wanted to like Been So Long, and can imagine it having worked well on the stage (it played the Young Vic in 2009) but something has definitely been lost in translation with this screen adaptation here. It is mildly curious as the film is written by Ché Walker, scribe of the original play and the subsequent stage musical, but maybe this was a step too far?
One of the main problems for me is that crucial issue of tone. As a love story set in contemporary Camden, and in which Camden plays a central role, there’s a tendency towards gritty naturalism, particularly in showing the home lives of its protagonists, new ex-con Raymond (Arinzé Kene) and single mum of a disabled daughter Simone (Michaela Coel). Continue reading “Film Review: Been So Long (2018)”
“Children who refuse to learn will not return”
I only actually got round to seeing the ‘new’ musical version of Mary Poppins a couple of years ago at the Curve in Leicester, ahead of its mammoth tour, and so the novelty of finally seeing it onstage distracted me a little from the finer details of the score, which merged the original of Robert B Sherman and Richard M Sherman with new songs and arrangements from George Stiles and Anthony Drewe.
And listening to it a couple of times, I think I find myself slightly less enamoured of the interventions. That’s not to detract from the quality of the performances – Laura Michelle Kelly makes for a vibrant Mary, Gavin Lee a perky Bert, and the supporting cast is blessed by the likes of David Haig and Linzi Hateley as the Banks, Rosie Ashe as the nefarious Miss Andrew and Jenny Galloway, Melanie La Barrie, and Claire Machin too. Continue reading “Album Review: Mary Poppins (2005 Original London Cast Recording)”
“Everything seems to be
Some kind of wonderful”
Where Broadway leads, the West End will surely follow and so it is little surprise that Tony-winning Beautiful – The Carole King Musical found its way over here to the Aldwych Theatre. And I’m pleased to report that the transatlantic passage has gone most smoothly indeed to deliver an absolute treat of a show. When three of its four leading personnel are still very much alive and kicking, it is perhaps no surprise that Douglas McGrath’s book treads a rather respectable path through the first ten years of King’s career. But then she would be the first to say, with typical self-deprecating charm, that her life is hardly the most exciting, her dreams never the loftiest – it just so happens that beneath this veneer of ordinariness lay an absolute treasure trove of extraordinary music.
And as musical gem follows musical gem – both from the collaborations of King and sometime partner Gerry Goffin, and also from their friends and writing rivals Cynthia Weil and Barry Mann – this feels utterly the point. Life isn’t always chock-a-block with drama, motivations don’t always have to spring from some momentous event, the cult of the tortured artistic soul is far from the be all and end all (Billington seems to suggest being “a shy, well-adjusted woman struggling to reconcile a career with a failing marriage” is something of a crime!) and I’d say that Beautiful is no weaker a biopic for not having such narrative peaks and troughs, reinventing personal history in the name of drama. Continue reading “Review: Beautiful – The Carole King Musical, Aldwych Theatre”
“When you’re feeling certain feelings that just don’t seem right”
This is going to be less of a review than a jumbled thought piece coming out from the marketing campaign for The Book of Mormon which has seen unprecedented levels of saturation across London. The publicity for the show started way back, adverts on buses and in tube stations have been appearing for months now but the week leading up to last Thursday’s press night saw an absolute deluge of coverage which meant it was even harder to escape. Lengthy preview features which all but reviewed the show were printed in newspapers; the #LoveMormon twitter campaign went into overdrive, using many of those tweets as quotes in adverts which, following the gala opening night, included an incredible four page ad just featuring tweets from celebrities.
One might have imagined such levels of hype would be hard to live up to but by all accounts, it has worked as a press release arrived yesterday trumpeting that The Book of Mormon had broken the record for the biggest single day of sales the previous day, taking in an astonishing £2,107,972 and this from a show which had already pretty much sold out until the summer. Of course, one could point to the ticket prices to explain some of the maths – the majority of the tickets are retailing at £74.50 and £127, £39.50 is as far as the cheap seats go (day lottery aside) – but nonetheless, the achievement shouldn’t be underestimated. Continue reading “Review: The Book of Mormon, Prince of Wales”
“Do something special, anything special…”
This charity shop malarkey is proving to be a veritable treasure trove of theatrical goodies, of variable quality I should stress, but after the delights of Ms Paige – which will be continued shortly with an upcoming DVD review – I was given this DVD of the 1998 Cameron Mackintosh extravaganza Hey Mr Producer which cost a whole 99p from a British Heart Foundation shop in north west London. A benefit concert ostensibly put together for the RNIB but also honouring and celebrating the work of producer Mackintosh (although oddly he was involved in putting the show together – honouring himself…) by bringing together excerpts from many of the most famous shows he has been involved in and pulling together an extraordinary cast of the musical theatre glitterati, many of whom originated the roles, the like of which has rarely been seen since.
And it really does come across as something special, at times a little frustrating but it is often the way with concerts like these that tantalise with little glimpses of shows and when the calibre of performer is such as it is here, one barely minds as there is much pleasure to be had. It is impressive how much was packed into the single evening, multi-song sections from shows were interspersed with single songs from others meaning that over 20 shows were showcased here. Whether it was shows I love – Little Shop of Horrors, Oliver!, Les Mis, ones I’m ok with – Phantom of the Opera, Company or even ones I’ve never actually seen – My Fair Lady, Miss Saigon, Martin Guerre, Carousel – the sequences that had more than one song worked surprisingly well, getting across something of the flavour of the shows even with the rapid pace and semi-staging. I would have loved to have seen and heard more from Anything Goes, Godspell and The Boyfriend and for Salad Days, Mackintosh’s favourite show apparently, to have gotten a proper treatment, but then I guess the three hour show would have gone on for days. Continue reading “DVD Review: Hey Mr Producer”
“And my head I’d be scratchin’ while my thoughts were busy hatchin’
I could have quite happily given The Wizard of Oz a miss, it wasn’t ever really on my list of shows to see but the combined news of a visit from a family member who wanted to see it and Hannah Waddingham’s imminent departure from the ensemble meant that I found myself there on a Saturday evening… There’s something a little odd about its choice as Andrew Lloyd-Webber’s third reality casting show, Over the Rainbow, as the show is not really a fully-fledged musical, no matter how famous some of the songs but he persevered nonetheless. What is even odder is his assembly of a strong musical theatre cast around the eventual winner, Danielle Hope, given the paucity of many of the roles around Dorothy.
Lloyd-Webber’s way around this has been to write new songs, with long-standing lyricist Tim Rice, to beef up the roles of characters like the Wizard and the Wicked Witch of the West and justify the casting of Michael Crawford and Hannah Waddingham respectively. But despite looking a picture with some tricksy staging and wirework, the end result is curiously banal, exceedingly bland and one which rarely excited me. The focus is so much on the stagecraft that the heart of the story is rarely engaged: Hope’s Dorothy is sweet but rarely interesting, there’s little of the ‘star quality’ evident this evening but then the role is not one that really encourages it; Michael Crawford made very little impact either as the Wizard or the cameos as Ozians and so it went, emotion taking second-place to spectacle. Continue reading “Review: The Wizard of Oz, Palladium”